Kasimir Malevich's (1878-1935) sudden and startling realization of a nonrepresentational way of painting, which he called Suprematism, stands as a seminal moment in twentieth-century art. Rainer Crone and David Moos trace the artist's development from his beginnings in the Ukraine to his involvement with Futurist circles in Moscow through to the late 1920s and beyond. They convincingly demonstrate that Malevich's late representational painting, still widely misunderstood, solidifies his extraordinarily inventive stance. Against the historical background of distinctly Russian progressive cultural and scientific movements, the authors define affinities between Malevich's work and other nonpolitical revolutions: relativity and quantum theory in physics; the work of Roman Jakobson and the "Prague School" in linguistics; and the exploration of language in the writings of the poet Velimir Khlebnikov. They situate the artist within the fundamental epistemological shift from nineteenth-century objectivity to an all-pervasive modernist subjectivity, relying upon Malevich's contribution to illustrate the ways cultural production is mediated through various modes of transmission.

Kazimir Malevich: The Climax of Disclosure

Arts & Photography

Moos, David

Crone, Rainer

History & Criticism

University of Chicago Press

Two art historians present separate essays interpreting the work of Swiss painter Klee (1879-1940) in terms of language patterns and his image of the book. Emphasizes the circumstances and consequences of his break with traditional painting. Includes five color plates. Annotation copyright Book News, Inc. Portland, Or.

Paul Klee: Legends of the Sign (INTERPRETATIONS IN ART)

Koerner, Joseph

Individual Artists

Columbia Univ. Pr.

Text: English, German (translation)

Andy Warhol

Praeger

Stanley Kubrick: Drama & Shadows: Photographs 1945?1950

Phaidon Press

Kazimir Malevich's sudden and startling realization of a non--objective way of painting -- he termed it Suprematism -- stands as a seminal moment in the history of 20th-century art. Tracing the artist's development from his early years in the Ukraine and in Moscow, through the 1930s, against the background of the cultural and scientific revolutions of his day, the authors offer new insights into Malevich's creative process and the extraordinary inventiveness of his late work.

Reaktion Books

Kasimir Malevich’s (1878–1935) sudden and startling realization of a nonrepresentational way of painting―which he called Suprematism―stands as a transformative moment in twentieth-century art. In this book, Rainer Crone and David Moos trace the artist’s development from his beginnings in Ukraine to his involvement with Futurist circles in Moscow through to the late 1920s and beyond. They convincingly demonstrate that Malevich’s late representational painting, still widely misunderstood, solidifies his extraordinarily inventive stance.             Against the historical background of distinctly Russian progressive cultural and scientific movements, the authors define affinities between Malevich’s work and other nonpolitical revolutions: relativity and quantum theory in physics; the work of Roman Jakobson and the “Prague School” in linguistics; and the exploration of language in the writings of the poet Velimir Khlebnikov. They situate the artist within the fundamental epistemological shift from nineteenth-century objectivity to an all-pervasive modernist subjectivity, relying upon Malevich’s contribution to illustrate the ways cultural production is mediated through various modes of transmission. With over 100 illustrations, this engaging book presents Malevich as a uniquely creative artist, embodying in his work many of the insights and discoveries that define the twentieth century and the condition of modern life.

With a giant, soft drum set by Claes Oldenburg, a white alphabet by Jasper Johns, a combine painting with radio attached by Robert Rauschenburg, a halved peach, Buick, naked lady (all together) by James Rosenquist, rows of Campbell's soup cans by Andy Warhol, pin-up girls by Mel Ramos, and a graphic explosion by Roy Lichtenstein, the works gathered here pack more of a big bang than a mere pop. With signature pieces by the movement's stars, the John and Kimiko Powers Collection of Pop Art is considered one of the most extensive in private hands. Accompanied by individual essays on each of the represented artists.

Pop Art: The John And Kimiko Powers Collection

DINE, Jim

Hickey, Dave

Shapiro, David

Johns, Jasper

Rauschenberg, Robert

Rosenquist, James

Goldman, Judith

Rothkopf, Scott

OLDENBURG, Claes

Norden, Linda

RIVERS, Larry

Schaesberg, Petrus Graf

Relyea, Lane

LICHTENSTEIN, Roy

Gilbert-Rolfe, Jeremy

Wesselmann, Tom

Ramos, Mel

Collections, Catalogs & Exhibitions

GAGOSIAN GALLERY

Superbly reproduced images of selected sculptures and late drawings by Rodin document his obsession with sexuality, revealing the countless ways he depicted the subject: as a threat and challenge, but also as the source of all creative inspiration and passion. Augmenting these illustrations are essays by leading scholars exploring the ramifications of eros in Rodin's work and his influence on his contemporaries as well as on future artists. In word and image, this volume deepens our understanding of nineteenth century's premier sculptor.

Rodin: Eros and Creativity

Prestel Pub

Book by Crone, Rainer, Schaesberg, Petrus Graf, Graf Schaesberg, Petrus

Louise Bourgeois: The Secret of the Cells

Reference

Prestel

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Books by Crone, Rainer